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The revealing biography of this highly productive and radical film director

Rainer Werner Fassbinder was the most innovative practitioner of New German Cinema. He worked at breakneck speed and in fourteen years made forty-four films, including Ali: Fear Eats the Soul (1973) and The Marriage of Maria Braun (1978). Fassbinder ruthlessly attacked both German bourgeois society and the larger limitations of humanity, and his films detail the desperate yearning for love and freedom and the many ways in which society defeats that desire.

Incorporates experimental archaeology to understand the food-caching strategies led by Indigenous women in Late Woodland Michigan.

This experimental archaeology book centers on the decision of Indigenous women in Michigan’s Late Woodland to store food in cache pits for later use, to ensure a stable food supply. These food storage techniques were efforts to increase communal chances of survival in direct responses to sociopolitical changes. Kathryn M. Frederick highlights the importance of food storage in these communities and the decision-making and behaviors behind it.

To discover why food storage became a popular practice at that period, Frederick considered the efficacy of subterranean food storage and constructed experiments to understand the timing and use of cache pits and to test their reliability and efficiency. She also compiled ethnographic data on location, environmental conditions, movement strategies, and types of foodstuffs stored for dozens of hunter-gatherer groups. Two distinct patterns of food storage emerged: “reliant” and “redundant.” Frederick argues that the Indigenous women utilized a system of reliant storage during times of abundance but could switch to a redundant system as the socioeconomic climate shifted. This book will interest a wide swath of archaeologists and others interested in Indigenous foodways and women’s key roles.

Winner, Wayland D. Hand Prize, American Folklore Society, 2018

Originating in a homicide in St. Louis in 1899, the ballad of “Frankie and Johnny” became one of America’s most familiar songs during the first half of the twentieth century. It crossed lines of race, class, and artistic genres, taking form in such varied expressions as a folk song performed by Huddie Ledbetter (Lead Belly); a ballet choreographed by Ruth Page and Bentley Stone under New Deal sponsorship; a mural in the Missouri State Capitol by Thomas Hart Benton; a play by John Huston; a motion picture, She Done Him Wrong, that made Mae West a national celebrity; and an anti-lynching poem by Sterling Brown.

In this innovative book, Stacy I. Morgan explores why African American folklore—and “Frankie and Johnny” in particular—became prized source material for artists of diverse political and aesthetic sensibilities. He looks at a confluence of factors, including the Harlem Renaissance, the Great Depression, and resurgent nationalism, that led those creators to engage with this ubiquitous song. Morgan’s research uncovers the wide range of work that artists called upon African American folklore to perform in the 1930s, as it alternately reinforced and challenged norms of race, gender, and appropriate subjects for artistic expression. He demonstrates that the folklorists and creative artists of that generation forged a new national culture in which African American folk songs featured centrally not only in folk and popular culture but in the fine arts as well.